SING SINCK, SING was always going to be a bit of a trip, being the fruits of a collaboration between Efrim Manuel Menuck – founding member of Godspeed You! Black Emperor and Thee Silver Mt. Zion – and Kevin Doria from Growing and Total Life.

‘Do the Police Embrace?’ sets the tone: an immense, repetitive, oscillating drone where melody melts into vaporous abstraction and the vocals, not atonal, but keyless and quavering. There’s a heavily sedated, psychedelic feel which is all-pervasive: the album’s five tracks are sprawling patchouli-scented sonic meditations.

‘A Humming Void an Emptied Place’ is the sound of multitonal dronal collapse, and stands comparisons to some of the extended drone-centric workouts that feature on Swans’ Soundracks for the Blind and the releases from their last iteration, only without the build, the crescendo, dare I say the pay-off? The objective is clearly very different: this is an album designed for hypnotic immersion rather than catharsis.

In music criticism, ‘woozy’ is one of those descriptors that has mixed connotations, perhaps more often than not hinting at a vague mixed pleasure a certain level of dizziness can give rise to, the light flip of the stomach after a rollercoaster or a touch of alcohol-induced giddiness. But are SING SINCK, SING (is that an album title or a band name, or both?) feels more like the woozy of carsickness after a long journey on winding, bumpy roads on a hot day. It’s the awkward, slurring slapback reverb on the vocals on ‘We Will’; it’s the droning organ tones that criss-cross in slightly out-of-time waves; it’s the formless expanses which undulate, heave, and sigh.